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SILJA ELVARSDĂ“TTIR BA Fashion Marketing & Communications Level 5 - 2014/15 Representation Techniques 2 Computer Tools 2 - MIED 506 Nicolas Godon CWK4





ISABEL MARANT Isabel Marant, born in 1969, never aspired to become a fashion designer. As the child of a successful model, she had already developed distaste for the pompousness of the industry at a young age. But in her teenage years, she noticed that fashion was changing. Swept away by the DIY attitude of the punk movement, and heavily inspired by designers such as Vivienne Westwood, she started creating her own clothes. It wouldn’t be long before her friends started placing orders.


“I was kind of earning my living at 16 selling my rubbishy things and I thought, ‘Eh, interesting.’ I’d wanted to do economic studies but I discovered fashion.” - Isabel Marant, Telegraph

After receiving her degree at Studio Berçot in Paris, Marant launched a line of jewelry in 1989 and later established her own fashion house Isabel Marant in 1994. From then onwards, she creates full, biannual collections. What has come to characterize the brand is bohemian nonchalance combined with Parisian chic. The Marant trademark look is thrown-together, effortless and unstuffy. She designs for women who want to look good without bothering to dress up. What many loyal fans, including style icons such as Alexa Chung and Diane Kruger, prize is the way Marant creates tomboy’ish, androgynous ensembles but always manages to balance them off with a subtle feminine touch.

“I’m very boyish and I can be very feminine at the same time. I like contrasting things. I don’t like it when things are perfect; I like imperfection. I like sexiness, but I don’t like the first degree of it—the overly sexy, which, for me, is very vulgar.” - Isabel Marant, Into the Gloss


MARKET POSITION Isabel Marant is placed in the premium apparel market. The house produces two pret-a-porter collections each year, spring and fall, and they always carry the same distinct features but with seasonal updates. Thus, the brand detaches itself from the dominating trends within fashion and strives to follow it’s own established style. From the beginning, Marant was determined to build her brand step-by-step and let grow slowly and organically. This decision would also allow her carry out her own creative vision with more integrity (Finnigan, 2013). The house shunned traditional advertising and instead relied on spreading through word-of-mouth, and within a few years it had become somewhat of a cult brand in Paris, catering to an extremely loyal base of customers. International commercial success followed up, partially thanks to the numerous style icons and it-girls among those brand-devotees, who eagerly wore and promoted it in the medias. The brand has in fact reported a 30% increase in sales for each year since it’s inception, having Marant proudly stating: “I have always increased the turnover and quantity of what I was selling” (Iredale, 2008). The price range of the brand’s most iconic products (skinny jeans, blazers, heavy knits and other wardrobe staples) remains beyond the budget of an average consumer. Yet, sales of the high-street collection, designed by Isabel Marant for H&M in 2013, clearly demonstrate the brands growing popularity within the mainstream market. In fact, the extreme demand lead to a collapse of the H&M website within minutes from the collection launch (Huffington Post, 2013).


All though the house has preferred to keep a low profile overseas, selling mostly through it’s three stores in Paris, the growing international demand has led to an expand in distribution. Today, a total of 18 Isabel Marant sales points can be found worldwide, in major cities such as London, New York, Tokyo and Shanghai (Isabel Marant, 2014). Isabel Marant has not yet established online sales, but is represented on premium online outlets such as NET-A-PORTER.


TARGET & COMMUNICATIONS Isabel Marant describes her kind of woman as “someone who starts getting dressed up and then decides she can’t be bothered and puts on her jeans instead.” (Finnigan, 2013). These women are realistic when it comes to their wardrobe, and are prepared to spend more on essentials for everyday life, that are both comfortable and cool. They value per-


sonal style with a focus on subtle details and understand that sexiness is better expressed through relaxed confidence than by exposing skin. The communications of Isabel Marant are characterized by those same values. Visual advertising is usually shot in everyday settings. The models it shows are laid-back

and often quite “tomboy-ish� in their poses. Marant’s knack of counter parting masculinity with femininity also shines through here, as her models are never completely androgynous. Elements of styling and detail, such as long and wavy I-just-got-outof-bed hair, ensure that the look is not overly masculine. The nonchalant attitude, which seems to be the red thread through all marketing aspects, makes the brand undeniably cool. Apart from traditional advertising, a major communicator of the brand values is Isabel Marant herself. When reading through the numerous interviews she has

given, it becomes clear that unlike many other labels, ones that mainly rely on celebrities to represent them, Isabel Marant embodies her own brand and seemingly lives out its values both in her professional and personal life. She has a ten-year-old son with her husband Jerome Dreyfuss, who happens to be an accessory designer with his own cult following. Balancing her responsibilities as a mother, wife and business owner, she recognizes that the on-the-go lifestyle of contemporary women, creates a bigger need on the market for designer clothing that are practical and can be worn trough out the day.


CURRENT CHALLENGE The company is reporting healthy increase in turnover every year, but due to the highly competitive state of the market, it needs to be aware of and respond to any negative press and potential threats. The design philosophy of Isabel Marant propels the brand to work outside the framework usual framework of fashion, by not pursuing trends and sticking to the same core designs. Thereby the collections do not deliver the same degree of “new-ism,” that is highly valued by the mainstream traditional fashion consumer. As a result, the brand receives some criticism for being overly expensive. Isabel Marant focuses on

Samuel oversized knitted sweater



the wardrobe basics, which re-appear in updated formats for each season, and some consumers do feel that premium quality is not enough to justify the price levels. To stay competitive, the brand must explain and deliver more distinct benefits to its consumers. Current communications focus on expressing the main brand assets, “Parisian Chic” and “Bohemian Nonchalance”, which relate to the trademark style. In this brief it is proposed that the company incorporates “ethical consumption” into its messages; a current and prominent consumer trend that already correlates to the existing brand values.

John cotton-sateen jacket


“This thought beat my head like a gong when I realized that the selections I had taken into the dressing room were a distressed denim pencil skirt and the aforementioned $400 sweatshirt.” - Cintra Wilson, NY Times


“Buy less, choose well, make it last” - Vivienne Westwood, The Guardian

Consumption, now more than ever, is a way of constructing an identity. Expressing your personal values to the world by wearing brands that share them with you. As faith in the capitalist systems wanes, people feel burdened by their need to consume, especially if big brands are not able to deliver them products they feel good about buying. Brands that focus on sustainable production, humane working environments for their employees or that dedicate a part of their margin to ethical causes, assume more value in the eyes of consumers, which are often willing to pay more for their products.


ISABEL MARANT POUR UN WOMEN This brief proposes collaboration between Isabel Marant and UN Women, where the brand would create, market and sell a special collection, with a percentage of the profit dedicated to the organization. As previously stated, Marant aims to create garments that women feel comfortable and confident wearing. In a way, she also encourages women to “build� their wardrobe, in the sense of investing in a few good and functional items, rather than renewing it constantly by following the latest trends. These values relate to and re-enforce two major objectives that UN Women strive for: female empowerment and ethical consumption (Un Women, 2014). Thus, by associating itself to the causes of UN Women, the brand Isabel Marant could assume an image as an ethical and socially responsible brand in they eyes of consumers. The company would show that its objectives are not purely about generating profits. That it actually desires to do good and does it by promoting conscious consumption and positive social changes.




COLLECTION The collection will consist of functional basics, such as blazers, t-shirts, skinny jeans and warm sweaters, which are usually the Isabel Marant bestsellers (Day, 2013). All items will give some reference to UN Women, by incorporating the blue color of the organization logo. This will be done in a subtle way, which does not interfere with the overall design and brand characteristics. The design will address contemporary living, but incorporate some elements from the 70ies as a testimony to the women’s rights movement and the first major wave of feminism in society.



What Isabel Marant pour UN Women will communicate to its audience is that the brand not only supports female empowerment and gender equality, but is actively involved in creating solutions by supporting and promoting the actions of UN Women. Even though Isabel Marant expresses a feminist attitude in both current and previous communications, such as interviews giving personal opinions of the designer herself and the overall code of aesthetics used in campaigns, a collaboration with UN Women will be a more direct way of displaying brand values related to social and ethical causes.

The everyday basics of the collections will help women feel comfortable and enable them to pursue their goals confidently, without depriving them the feeling of being beautiful and attractive. Through the collection Isabel Marant shows that feminism and gender equality is not about erasing or emphasizing sexuality. It’s about striking a balance, allowing women to express confidence and self respect without seeking to extremes; either covering themselves up or revealing too much skin.



EDITORIAL INSPIRATION The editorial will take inspiration from two main elements; the French singer and style icon Francoise Hardy and the European wave of feminism in the 60’s and 70’s. Francoise Hardy, who recorded her first album in 1962, has made a huge impact on Isabel Marant’s perception of how style differs from fashion. Marant once stated in an interview; “When you look at iconic people, most of the time they are dressed up exactly the same way for all their life. They dress for themselves.” Francoise

Hardy, with her sexy yet innocent tomboy-ish look, which has changed little over her long career, is one of those iconic people (Into the Gloss, 2012). Photos of Hardy shot in Paris during the 60’s and 70’s typically have a casual and laid-back quality to them. The editorial will aim to capture a similar mood, in a contemporary context, yet at the same time giving some references to the 60’s and 70’s, as an example through choice of colors or props.



Marlene Marino is the ideal candidate to shoot for the editorial. She specializes in capturing private and everyday moments. Even though her subjects are typically based in commonplace environments, they often assume a certain poetic quality. She places a strong focus on the lives of women in her work and through storytelling explores the intersection between high and low art. Marlene also admits that the Nouvelle Vague movement in of 1960’s French cinema has highly influenced her style (Love Magazine, 2014).

“I’m interested in preserving on film a sense of people’s lives, taking a focused approach, telling stories about women, letting women be women. My images are about conserving a sense of freedom through nonchalance. They are as pliable, personal and intimate as the novel.” - Marlene Marino, LOVE Magazine



In the Isabel Marant pour UN Women editorial Marlene Marion’s task will be to document a day in the life of a contemporary French woman living in Paris. She will follow the model through private and public spheres, capturing her in a dynamic and natural way, in the manner of street photography. This will express an “anti-fashion” attitude,

shying away from stereotypical poses and decadent scenery. The ultimate aim will be to convey the different activities carried out and responsibilities assumed by modern women. Isabel Marant’s designs allow women overcome them with a sense of comfort and confidence.


Actress Lea Seydoux , a born and bred Parisienne, is the model of choice. Her roles in Quentin Tarantino and Woody Allen catapulted her international fame, but she is also quite recognized for her sophisticated sense of style. Along side acting she has appeared in numerous publications as a model and is currently the face of Prada Candy. Elements of styling will be aimed to capture the effortless chic look that Isabel Marant is known for. Loose, slightly messy hair and minimal make-up is key. But in order to give subtle references to the 60’s, Lea’s hair will partly be partly pinned up on the back of the head and eye make-up will include liquid eyeliner.



tous les garรงons

et les filles

Trenchcoat, 550 € Turtleneck, 340 €

Suede Jacket, 970 € Wool Trousers, 340 €

Cashmere Jumper, 480 â‚Ź

Alpaca Jumper, 450 â‚Ź

LOOK BOOK The role of a look book is to display collections to possible buyers, and therefore the design and photography needs to provide a simple and accurate depiction of the garments. Stylistic elements of Isabel Marant look books are always simple and understated with minimum text and airy white spaces. This will also govern the direction of the UN Women collection look book, along with use of Helvetica fonts in regular or bold weight. Furthermore, the UN Women blue logo color will be incorporated into some of the text. The photos will be shot in a typical Parisian apartment with modest interiors, not grabbing attention from the model. The overall styling of the model shall emphasize the overall values of the collection: comfort and confidence. Thus, she will wear minimal make-up and relax into her poses.















MINI WEBSITE A mini website, independent from the main site of Isabel Marant, is needed to promote the campaign, explain the work of UN women and how the collection promotes the causes of the organization. The static pages “About”, “Collection” and “Store Locator” will serve these purposes. The mini-site will also contain a blog, which provides updates regarding the collaboration and the causes it aims to promote. The role of a dynamic page is also to deliver new content on a regular basis in order to attract more traffic to the website. Social media widgets placed on a secondary menu will link directly to the Facebook, Instagram and Twitter accounts of Isabel Marant, to provide further information for guests who are less familiar with the brand. The overall design of the mini-site will be characterized by the overall visual identity of the collection; incorporating Helvetica and Futura fonts, the blue logo color of UN Women along with imagery from both look book and editorial. In terms of content, a strong emphasis will be placed on use of various medias, such as videos and graphics, in order to communicate ideas. By using more visual aids than mere text, the browsing experience becomes more fun and engaging for audiences. Comments and likes will be allowed on all pages, except start page, to increase transparency and encourage interactions.







ISSUU: brief_2014 WORDPRESS: ISSUU brief is embedded on “About” page of mini-site 33

REFERENCES Day, Elizabeth, (2013). Isabel Marant: ‘Sometimes we give an image of a life that will never exist’. [online] Poole: The Guardian. Available from: [Accessed 6 November 2014]. Finnigan, Kate, (2013). Isabel Marant: ‘I am my own muse’. [online] Poole: The Telegraph. Available from: http://fashion.telegraph. [Accessed 6 November 2014]. Huffington Post, (2013). H&M Website Down After Isabel Marant Launch. [online] Poole: Huffington Post. Available from: http://www. [Accessed 6 November 2014]. Into the Gloss, (2012). Isabel Marant. [online] Poole: Into the Gloss. Available from: [Accessed 6 November 2014]. Iredale, Jessica, (2008). Bon Street. [online] Poole: W Magazine. Available from: [Accessed 6 November 2014]. Love Magazine, (2014). Marlene Marino. [online] Poole: Love Magazine. Available from: an-interview-with-marlene-marino [Accessed 6 November 2014]. UN Women, (2014). About UN Women. [online] Poole: UN Women. Available from: [Accessed 6 November 2014].


IMAGE REFERENCES Cover: Le City Kitty, (2014). Isabel Marant Restort 2015 Collection. [online image]. Available from: [Accessed 18 November 2014]. Page 2: Marino, Marlene, (2013). Untitled. [online image]. Available from: apartamento-paz-de-la-huerta-4927#photography [Accessed 18 November 2014]. Page 4: Isabel Marant, (2013). Isabel Marant. Available from: http://www. vlm_marant_678f4.jpg [Accessed 18 November 2014]. Page 6: Vandervelde, Sonny, (2013). Isabel Marant AW/13. [online image]. Available from: [Accessed 18 November 2014]. Page 8: Sadli, Karim, (2014). Isabel Marant S/S 2014. [online image]. Available from: [Accessed 18 November 2014]. Sorrenti, Mario, (2011). Isabel Marant F/W 2011-12. [online image]. Available from: [Accessed 18 November 2014]. Page 9: Isabel Marant, (2007). Isabel Marant S/S 2007. [online image]. Available from:[Accessed 18 November 2014]. Sadli, Karim, (2013). Isabel Marant F/W 2013-14. [online image]. Available from:


bel-Marant-Campaign-FW160201314-Andreea-Diaconu-by-Karim-Sadli/ [Accessed 18 November 2014]. Page 10: Carr, Harry, (2014). Isabel Marant S/S 2015. [online image]. Available from: [Accessed 18 November 2014]. Net-a-Porter, (2014). John cotton-sateen jacket. [online image]. Available from: [Accessed 18 November 2014]. Net-a-Porter, (2014). Samuel oversized sweater. [online image]. Available from: [Accessed 18 November 2014]. Page 12: Olins, Johs, (2014). Isabel Marant Resort 2015. [online image]. Available from:[Accessed 18 November 2014]. Page 14: Trindle, Scott, (2014). Isabel Marant Etoile S/S 2014. [online image]. Available from: [Accessed 18 November 2014]. Page 15: Marlene, Marino, (2014). Untitled. [online image]. Available from: apartamento-nelleke--jr-4930#photography [Accessed 18 November 2014]. Page 16: Trueman, Laurie (year unknown). Untitled. [online image]. Available from: [Accessed 18 November 2014].


Merritt, Vernon, (1969). Untitled. [online image]. Available from: [Accessed 18 November 2014]. Page 17: Aurorae, (year unknown). Untitled. [online image]. Available from: [Accessed 18 November 2014]. Page 18: Marino, Marlene (2014). Heather Boo. [online image]. Available from: -e1416274500576.jpg [Accessed 18 November 2014]. Page 19: Guillemain, Eric, (2011). Lea Seydoux in Nowness. [online image]. Available from: [Accessed 18 November 2014]. Page 20: Unknown, (1967). Francoise Hardy and Jacques Dutronc. [online image]. Available from: [Accessed 18 November 2014]. Page 22: Chang, Jane Magan, (year unknown). Francoise Hardy. [online image]. Available from: couples/very_french/francoise-hardy-et-jacques-dutronc/013_francoise-hardy-et-jacques-dutronc_theredlist.jpg [Accessed 18 November 2014]. Page 23: Melty Fashion, (year unknown). Untitled. [online image]. Available from: [Accessed 18 November 2014].


Page 24: Just Around Midnight, (year unknown). Untitled. [online image]. Available from: [Accessed 18 November 2014]. Page 26: PĂŠrier, Jean-Marie, (year unknown). Francoise Hardy. [online image]. Available from: iconic_women/1960/francoise-hardy/025-francoise-hardy-theredlist. jpeg [Accessed 18 November 2014]. Page 28: Marino, Marlene, (2013). Untitled. [online image]. Available from: apartamento-paz-de-la-huerta-4927#photography [Accessed 18 November 2014]. Page 29: Sadli, Karim, (2013). Isabel Marant F/W 2013-14. [online image]. Available from: [Accessed 18 November 2014]. Sadli, Karim, (2013). Isabel Marant F/W 2013-14. [online image]. Available from: [Accessed 18 November 2014]. Sadli, Karim, (2013). Isabel Marant F/W 2013-14. [online image]. Available from: [Accessed 18 November 2014].



Profile for Silja Elvarsdottir

Campaign proposal: Isabel Marant for UN Women  

Computer Tools 2 - 2014 BA Hons.Fashion Marketing & Communications University of Westminster / IED Barcelona

Campaign proposal: Isabel Marant for UN Women  

Computer Tools 2 - 2014 BA Hons.Fashion Marketing & Communications University of Westminster / IED Barcelona